Drayton Hall Spring Summer 2016 Interiors Newsletter by Drayton Hall

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INTERIORS D R AY TO N HA LL R E V ISI TE D by Carter C. Hudgins, Ph.D., President and CEO Since opening to the public nearly 40 years ago, Drayton Hall has aspired to operate as a world-class historic site. Graced by one of the most significant architectural examples from the colonial period in the midst of ornamental and sacred landscapes, the site has succeeded in connecting scores of visitors to our American past with a breadth of stories that is unrivaled in the nation. Now, under the auspices of the Drayton Hall Preservation Trust, we aim to take Drayton Hall to new heights by expanding the visitor experience, improving our stewardship of resources, and aligning the board and staff under a new operating model with a focus on preservation, education, and inspiration. This charge comes as we deeply believe it is our responsibility to preserve the historic treasures of Drayton Hall and the stories of its residents; it is our duty to connect the public to these tangible and intangible resources through education initiatives for students of all ages; and it is our purpose to inspire people to embrace historic preservation in order to fulfill our mission and enrich our future. For Drayton Hall to reach new heights, it is essential to invest in Drayton Hall’s modern infrastructure, and it gives me great pleasure to announce that the Drayton Hall Preservation Trust has engaged in a process to transform Drayton Hall through long-awaited facility improvements. Working with Glenn Keyes Architects and Wertimer & Associates Landscape Architects, we have recently established a vision for the future that honors Drayton Hall’s status as a world-class historic site and calls for amenities that will more effectively support our efforts to preserve, educate, and inspire. By design, our new facilities will be sympathetic to Drayton Hall’s historic architecture, while thoughtfully and subtly acknowledging their position at one of the most important plantations assembled in colonial America. The new complex will feature an orientation hall, an education center, and galleries where our decorative arts and

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GU EST COLUMN : THE BEST DEC ISI ON

CU R ATO R ’ S CO LU M N: PO RT I CO R EOPE N S

by Steve Gates, CHAIR OF THE BOARD OF TRUSTEES, DRAYTON HALL PRESERVATION TRUST

by Trish Smith, Curator of historic architectural Resources

For Drayton Hall’s new Board of Trustees, 2015 was a year to remember. It was a period of significant change—most notably Drayton Hall’s new form of governance under a new name: the Drayton Hall Preservation Trust (DHPT). Looking back, there was a great deal more going on behind the scenes. For Board members it meant a dramatic transition from the former Site Advisory Council to being charged with shaping Drayton Hall’s future, including assuming full managerial and fiduciary responsibilities. Of all the challenges facing them, the choice of a replacement for George McDaniel, the site’s recently retired executive director, was arguably its most critical. The Board agreed that the title should convey the dual role that this new leader would play as the top officer and executive of the new 501c3, and so the search began for Drayton Hall’s first President and CEO. While there was an impressive list of credentialed candidates, the Board ultimately chose one of Drayton Hall’s own: Carter C. Hudgins. At the time, Carter was Deputy Director and Director of Preservation—the latter a position that he had held since 2008. Carter had already proven his talent for leadership through his development of the Preservation Department— recruiting outstanding talent across disciplines, including curators in architecture, archaeology, and museum collections, and professionals in horticulture and historic landscapes. While the site has always been understood as an architectural masterpiece, the preservation department’s collective scholarship and research led to a deeper understanding that has elevated Drayton Hall to its true status as an icon of colonial America. What’s more, the Board and Carter shared an ambitious vision for the future in a comprehensive plan for new facilities guided by responsible stewardship and achieved through a deep-rooted preservation ethic. It imagines a new and fully immersive visitor experience designed to deliver a 360° journey through the site’s history. Visually rich exhibits will begin with the preDrayton era and move visitors forward through time. The site will be transformed through a diversity of programs and experiences for visitors of all ages, perfectly complementing the centerpiece of the historic core: the main house with its rare double portico. Achieving a vision of this scope is a tall order—especially with the demands of daily operations co-existing with an active 2

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FOr the first time in three years, visitors to Drayton Hall are once again entering the house by way of the portico. The only one of its kind in the world, Drayton Hall’s portico has undergone a major structural rehabilitation that took about nine months from the time the first chisel struck masonry. During this process, we made several exciting discoveries about the eighteenth-century portico and subsequent changes made to it in the nineteenth and twentieth centuries. An exterior pedimented structure supported by columns— that’s what a portico is, and in a climate like ours, a porch or portico is an inviting spot to find some relief from the heat. While this may have been a factor in its design, for John Drayton (c.1715–1779) the portico was a gateway, the primary entrance to a classically inspired house designed in concert with the surrounding landscape. Just as it once signaled his wealth and intellect to Drayton’s contemporaries, it conveys many messages to us today. The portico rehabilitation project required the careful disassembly of much of the portico, revealing many hidden architectural elements. We found a piece of the original eighteenth-century CONTINUED

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The mission of the Drayton Hall Preservation Trust is to research, preserve, and interpret Drayton Hall, its collections, and environs, in order to educate the public and to inspire people to embrace historic preservation.

BOARD OF TRUSTEES Chair Stephen F. (Steve) Gates, Vice Chair Edward E. Crawford, Vice Chair W. Hampton Morris, Treasurer H. Montague (Monty) Osteen, Jr., Secretary Marilynn Wood Hill, Richard Almeida, Nathan (Nate) Berry, Mary (MeMe) Black, Catherine Brown Braxton, Frank W. Brumley, Amelia (Mimi) Cathcart, Matthew Cochrane-Logan, P. Steven (Steve) Dopp, Frank B. Drayton, Jr., Carl I. Gable, John B. Hildreth, Kristopher B. King, Douglas B. (Doug) Lee, Benjamin F. Lenhardt, Jr., Fulton D. (Tony) Lewis, Jr., Michael B. Prevost, Thomas W. (Woody) Rash, Jr., Anthony C. (Tony) Wood

PRESIDENT AND CHIEF EXECUTIVE OFFICER Carter C. Hudgins, Ph.D.

INTERIORS STAFF Kristine Morris, Editor Natalie Titcomb, graphic designer Robert A. Johnson, volunteer proofreader

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THE C A RE TA K E R’ S H O US E : I N T E R PR E T I N G T H E POST B E LLUM PE R I O D AT D R AY TO N HA LL By Cameron Moon, Preservation coordinator

The former caretaker’s house at Drayton Hall has served as the museum shop since the site opened in 1974. In 1978 the National Trust for Historic Preservation moved the house from its original location next to the main house to its current position to serve as a place to welcome visitors and to sell merchandise. While this house stands as one of three surviving historic structures at Drayton Hall, little research had been performed to learn its history or significance. In a 2014 initiative to improve interpretation on the property, the staff at Drayton Hall converted the original footprint of this building into interpretive space, using only the back two rooms, added in 1923, for merchandise. The house’s structural fabric and materials became more accessible for extensive study once the entire front room was emptied of shelving and merchandise.

responsibility was to care for the main house during phosphate mining. Other tenant houses were built at Drayton Hall for phosphate mining laborers in a much less prominent location close to the entrance to the property. They were built in a utilitarian manner, void of decoration. In contrast, the caretaker’s house has architectural details like the decorative eaves and balustrade, fully incorporated front porch, and glass windows—enhancements that demonstrate it was built to measure up to the main house and flanker buildings.

The caretakers who lived in this house, along with the African American community that lived at Drayton Hall after the Civil War until World War II, prevented the main house and the property from falling into disrepair. The caretaker’s house serves as an excellent vehicle to interpret this period of time To find a construction date, at Drayton Hall that was pivwhich had been assumed to otal to the preservation of the be around the turn of the Left: The damaged central chimney, taken in 1978 after the house was moved site. To date, panels and artitwentieth century, we inves- to its current location. Right :The riverside of Drayton Hall showing the facts focusing on the caretaker’s original location and footprint of the caretaker’s house, c.1915 tigated the materials and house, phosphate mining, and building techniques, as well Richmond Bowens, have been as oral histories, historic photographs, and census records. installed. Once the new facilities are complete, the house A survey of the framing revealed the posts and braces are will become a purely interpretive space, showcasing the artibutted and nailed with no evidence of mortise and tenon facts, the people, and the architecture from the postbellum joints, which usually indicates postbellum framing in the period and the early twentieth century at Drayton Hall. Lowcountry. Supporting evidence includes photographs of The front room of the an iron lintel in the former chimney, which was irreparably Museum Shop with a damaged in 1978. This lintel likely came from an iron rail timeline of the caretaker’s line laid on the property in the late 1860s when phosphate house, phosphate mining mining began at Drayton Hall. Builders likely salvaged this panels, Richmond Bowens’ walking stick lintel c.1870 to use in the construction of the chimney. This and rocking chair, lintel, combined with the framing techniques, photographic the house model, and evidence from c.1885, and census records of caretakers or a historic timeline of “watchmen” living on the property beginning in 1880, point Drayton Hall. to a construction date of c.1875. The location of the caretaker’s house next to the main house suggests it was built specifically for someone whose sole 3

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above: Artist rendering of new facilities facing north as seen from the courtyard. Watercolor by Christian Sottile. below: Plan view of the complex by Wertimer & Associates Landscape Architects; expanded parking area is shown at the top. cover: Aerial perspective of new visitor facilities at Drayton Hall as seen looking south. The Ashley River can be seen at the top of the image. Watercolor by Christian Sottile.

archaeological collections will be on exhibit for the first time. Architectural details will draw from traditional crafts such as timber framing, and construction materials will include wood, brick, slate, and stone. What is more, historic landscape features will serve as both anchors for the new facilities as well as springboards for the visitor experience. Admittedly, such a project is part of a larger vision that I have to ensure that Drayton Hall is rightfully positioned in the American landscape for the benefit of present and future generations. While the first stage of facilities improvements is months away, it is my expectation that we will continue to invest in Drayton Hallâ&#x20AC;&#x2122;s staff capacity and additional facilities in order to further expand our stewardship of resources and the manner in which visitors connect with Drayton Hall, our talented staff, and our diverse stories. To accomplish this ambitious goal, Drayton Hall will need financial leadership, so we are beginning to structure a fundraising campaign around these priorities, with a broad appeal to Friends of Drayton Hall to be launched in early 2017. If you are interested in discussing a lead gift in support of new facilities, please contact Carter C. Hudgins at campaign@draytonhall.org. 4

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CLOCKWISE LEF T:

left: Made en suite with twelve chairs, this mahogany settee is believed to be among the original furnishings at Drayton Hall. England, c. 1750. Drayton Hall Museum Collection (on loan to the Charleston Museum), gift of Mr. Charles H. Drayton, III. above-left: A detail of the settee’s elaborately carved, decorative motifs. above-right: Conservator Christopher Swan, Colonial Williamsburg, examines the settee for any needed conservation work prior to it being placed on exhibit in our new gallery space next year.

GUEST COLUMN – STEVE GATES C ON T I N U E D F R OM PAG E

construction site—but we are confident that Carter’s experience and his ability to work collaboratively will ensure success during this upcoming period of growth. A vision of this scope also requires significant funding, but before looking outward, we knew we had to look at ways that we could help ourselves— starting with engaging our audiences more creatively and more often. You may have joined us for a series of events over the past year that have offered members greater access to the site and to its curators and collections—early examples of how Carter, his staff, and Board members, are approaching Drayton Hall’s future. Still, the development of a capital campaign to fund a project of this scope is essential.

While Drayton Hall is fortunate to have an endowment, which provides nearly half of our operating budget, the rest of our revenues is comprised of contributions (from Friends, from our group of philanthropic leaders known as the Society of 1738, and from our Board of Trustees) and earned income (from gate admissions, shop sales, and ticketed events). Foundations and competitive grants represent only a small percentage of our annual revenue. I hope you’ll read Carter’s article in this issue of Interiors and learn more about our plans for the new facilities. Better yet, I hope you will contact Carter personally to express your interest in helping Drayton Hall make this bold vision a reality, starting now. 5

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UPDAT E O N PRO JECTS

New Life for Historic Wetland Complex by Eric Becker, Manager of Landscapes, Horticulture, and Modern Facilities The wetland landscape at Drayton Hall is the result of hundreds of years of wetland manipulation related to seventeenth-century rice cultivation. Because it has not been maintained, much of the infrastructure is in need of conservation to permit effective water control and habitat management, and to decrease the loss of historical features.

Over the years, inland rice production ceased to be economical, and by the time the property passed to the third generation, John’s son Charles (1743–1820) was using the reservoir as a “piscatory” for the stocking of game fish. From a 1790s map of the Drayton estate, it is possible to view the remnants of this agricultural sys-

gauge railway, further bisecting the reservoir into four sections. When Drayton Hall was purchased for preservation and opened to the public in the 1970s, maintenance of the ponds and dikes had long since ceased. Salt water intruded into one quarter of the reservoir, and trees— many invasive—grew on the dikes and in the water, with sediment piling up that greatly reduced the water depth and quality.

The story of rice culture In the South Carolina Lowcountry is rich and diverse. To address these many issues, In the late seventeenth cenDrayton Hall’s Historic Wettury, early English colonists, land Conservation Project enslaved Africans, and Native adheres to modern-day best Americans began to cultivate practices that call for envirice inland where freshwater ronmental enhancement. could be captured, stored, and By retaining the water syschanneled into the fields. As a tems as originally intended, natural, low-lying tributary of there will be the added benethe Ashley River, a freshwater fits of increasing bird habitat, This diagram shows the impact area of the 26 acres of the Wetland Conservation Project. stream was impounded with The phosphate era causeway can be found cutting the freshwater reservoir just below arrow. including the establishment a series of clay-packed dikes, of nesting islands, known with water flow controlled by wooden tem of dikes and canals. One major piece as a rookery, where egrets and herons boxed spillways called “trunks”; the stream stands out: the lower fields have been can safely raise their chicks. Restoring formed a single reservoir that distributed abandoned and the dikes now opened to water depth will also increase the popuwater as needed to the rice fields downthe tidal flows of the Ashley River. lations of fish and other aquatic animals, stream. With the construction of Drayton while upstream we will seasonally flood After the Civil War, the mining and Hall in the eighteenth century, John Draythe “green tree” reservoir and moisttransport of calcium phosphate on the ton (c. 1715–1779) incorporated this soil habitat to increase food sources for surrounding Drayton property became reservoir into his plan for a landscape in migrating waterfowl, including wood a major source of income, and by the the English style, with a sweeping approach ducks. A future network of walking trails, late nineteenth century it was necessary to his house from Ashley River Road via a interpreting historical features within to construct a causeway for a narrow drive bisecting the reservoir. this enhanced natural environment, will 6

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The project team observes the construction of steel collars that were used to lift the two center columns in place. Drayton Hall, c. 1790.

offer an especially exciting opportunity for visitors. As part of our site transformation described elsewhere in this issue, visitors will gain a more complete encounter with history that extends beyond the walls of the main house and to a better understanding of the historical importance of the wetlands and rice culture to the South Carolina Lowcountry. Perhaps most importantly, this will provide first-time access to Drayton Hall’s once-again thriving and dynamic ecosystem.

An example of herbaceous wetland, also called a moist soil unit. The Drayton Hall Historic Wetland Conservation project will create this type of habitat, which is valuable for foraging waterfowl and wading birds.

entablature, in place, and still retaining a swath of first-period yellow ochre paint. We know from a 1765 watercolor by artist Pierre Eugene du Simitiere, and recent paint analysis by Dr. Susan Buck, that there was once an elaborate Doric entablature that was painted in this stone color. Also exciting was the discovery of an old snack wrapper, embedded in concrete, which helped us date the twentieth-century repairs to a period between 1923 and 1941 when this wrapper was in use. Other discoveries included early joist pockets hidden behind concrete, evidence of wooden lintels installed before the current stone ones, and four small vaults hidden beneath the portico stairs. As each of these discoveries came to light, a clearer picture of the portico’s evolution began to take shape and confirmed for us the wisdom of taking a slow and steady approach with this important resource. Beginning in 2011, Bennett Preservation Engineering carried out a thorough structural assessment of the portico and laid out the necessary repairs to ensure its continued preservation. A team from Richard Marks Restorations worked with Bennett PE, Glenn Keyes Architects, Drayton Hall staff, and several esteemed colleagues to see this project through to completion. After removing several tons of concrete, rebuilding the deck with more appropriate materials, lifting two stone columns in place, and tying the whole structure into the building, the portico now looks much the same as it did before the project. In fact, that was one of our primary goals. As a team, we strove to address several serious issues threatening the portico’s conservation while using as light a hand as possible. So, the next time you step onto the historic portico, look closely. You’ll see four centuries of craftsmanship looking back at you. The portico has welcomed visitors to Drayton Hall since the 1750s. After nine months of careful rehabilitation it is open to the public once again.

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PEOPL E I N T H E N E WS Wexler Curatorial Fellowship Position Granted to Corey Heyward

Meet Jennifer Drugge, Manager of Corporate and Foundation Relations

The 2015 Spring/Summer issue of Interiors highlighted supporters Deborah and Peter Wexler who generously funded a two-year, full-time fellowship position to help catalog the Drayton Hall archaeological collection using the Digital Archaeological Archive of Comparative Slavery (DAACS). We are very pleased to announce that the Deborah and Peter Wexler Curatorial Fellow position was granted to Ms. Corey Heyward who begins her fellowship on June 16, 2016.

Jennifer Smith Drugge joined Drayton Hall last fall as the Manager of Corporate and Foundation Relations. This newly created position is tasked with identifying potential fundraising opportunities by working closely with corporate and foundation partners. The chance to mold this new position was of great interest and continues to be an exciting motivator for Jennifer.

Corey is no stranger to Drayton Hall as she first interned in the Preservation Department in the fall of 2011 during her sophomore year at the College of Charleston. After completing her junior year abroad at the University of Groningen in the Netherlands, Corey returned to Drayton Hall during her senior year to write her bachelor’s honors essay on Drayton Hall’s delft tiles. Her in-depth research provided new information about the tiles’ manufacturing dates and origins, their specific decorative patterns, and their possible locations. The results of her research have been on display at the Drayton Hall museum shop for the past year. Corey double majored in Art History and Archaeology at the College of Charleston and was one of the first students to graduate with the new Archaeology major in 2014. She is about to complete her M.A. in Anthropology at George Washington University, where she is specializing in Archaeology and Museum Training. Since last May, she has been working at the Smithsonian, National Museum of Natural History. From the beginning of her graduate work in 2014, she also interned in the archaeology laboratory at George Washington’s Mount Vernon where she was trained to use DAACS, assisted in archaeological fieldwork, and learned to produce high quality archaeological photographs. Corey’s exemplary background, familiarity with Drayton Hall’s archaeological collection, and knowledge of DAACS all made her the perfect candidate for the Wexler Fellowship. Upon her return to Drayton Hall in June, she will work under the direction of Archaeologist and Curator of Collections Sarah Stroud Clarke as they continue to catalog into DAACS the estimated one million artifacts in the existing Drayton Hall archaeological collection. Corey will also assist in furthering the ongoing archaeological research and begin photographing the archaeological collection towards future interpretation. Stay tuned over the next few years as more exciting discoveries are made from the boxes in our storeroom. 8

Originally from Purcellville, Virginia, Jennifer grew up overseas, living in countries as diverse as Greece, Lebanon, Great Britain, Saudi Arabia, and Tunisia. When her banker father was transferred back to the U.S., she completed high school at the United Nations International School in New York City. Jennifer graduated from Bowdoin College with a double major in International Relations and History, after having spent her junior year abroad at the London School of Economics. Jennifer comes to this position with a corporate background and has held positions with the AIG Private Client Group, Chubb Group of Insurance Companies, and as the Director of Community Relations for a real estate development company. The Southeast has been her home since graduating from college. Most recently, Jennifer made the decision to leave the corporate world and took a position at Cotuit Center for the Arts on Cape Cod. There, she learned to navigate the non-profit world— acting as Operations Manager, liaison to the Board of Directors, marketing consultant, and volunteer coordinator. A newfound love of non-profits brought her back to the Lowcountry and to Drayton Hall. Now, six months into the job, some of the highlights have included the creation of a Corporate Patron program; the identification and cultivation of new foundation and corporate partners; ongoing conversations with existing partners; and the chance to work closely with colleagues in developing grant proposals to fund a variety of projects. These proposals have included funding for the Historic Wetland Conservation Project, for a paint conservation project inside the main house, for at-risk collections, and for the Distinguished Speakers Series. A long-time Friend of Drayton Hall, Jennifer still can’t quite believe that she gets to come to work here every day and make a difference in the legacy of this amazing place!

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E D UC AT IO N A L PA RT N E RS H I PS : E X PA N D I N G I N T HE 2 1 ST CE N T U RY by Shelia Harrell-roye, curator of education and public engagement Museums are constantly seeking ways to engage the academic and larger communities; it is the never-ending pursuit of inclusion. Drayton Hall understands that in order to generate successful inclusion we must possess a well-trained staff, creative programming, and collaborations with organizations that share a common goal of enhancing the educational experience. As we look toward the future we see our educational partnerships expanding. We strive to work aggressively with partners that employ classical, bold, and refreshing methods of learning. Our partnership with Engaging Creative Minds (ECM) is an example of how we are expanding our reach. ECM, a progressive and nationally recognized organization, nurtures student engagement through arts integration. With Drayton Hall’s diverse programming and hands-on activities, we are a perfect fit. The successful collaboration we share with ECM is largely due to the focus on “enhancing” teacher curriculum. We work hard with our ECM coaches to schedule teacher meetings that customize programs, as well as develop and present in-class lessons to students in preparation for their Drayton Hall visit. Through our programs with ECM we see students with a higher level of critical thinking and retention of information. Organizations like ECM that focus on arts integration are becoming more and more prevalent for museum education. Also, ECM provides Drayton Hall a bridge to students we normally would not have the opportunity to reach. The Palmetto Academy Job Shadowing Program is an example of how we conCraven Early College student tinue our work in traditional diligently works to recreate an artifact models of education engageas part of the archaeology education ment. As a mentoring site, we program DIG THIS! understand the importance of real-life experiences for students. Students that desire an opportunity to gain insight into museum professions, often for academic credit, are encouraged to make an inquiry through school counselors or educators to experience a “mentoring day” at Drayton Hall, a key collaboration for building relationships with regional schools. In the years approaching, we will answer the call to engage

Westview Elementary students fully engaged in “A Day in the Life of a Colonial Plantation,” an interactive education program.

educators from various institutions to dovetail cross-institutional projects. We hope to unleash the full potential of our education programming through this endeavor. Networking with other institutions is truly the path to sustaining real partnership, and we enthusiastically embrace this opportunity. Through our relationships with teachers, administrators, and community leaders, we turn our focus to establishing an education and community initiative. It is our wish to work with educators to enhance their existing curriculum by providing a network of learning resources, expertise in various fields, and professional development opportunities for teachers. It is through formal and informal spaces that we develop and sustain a learning landscape worthy of academic and community support. Professional collaborations between organizations and cultural institutions provide the necessary support needed to incorporate 21st century skills: literacy, communications, problem solving, technology, humanities and arts, and global awareness. Without these partnerships our value is not fully revealed. This is an inspiring time at Drayton Hall with many positive changes; we are inspired by these changes and, of course, the future! L – r: (back row) Curator of Education and Public Engagement Shelia Harrell-Roye, Archaeologist and Curator of Collections Sarah Stroud Clarke, and Interpreter Heath Ellison with Palmetto Scholars Academy student Lillian Pharis (middle front), who came out as part of her school’s job shadowing program to get a feel for the work we do at Drayton Hall.

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ANN UA L A PPE A L TO BE N E F I T D R AY TO N HA LL CO LL ECT I O N S By sarah stroud clarke, Archaeologist and curator of collections

With plans to construct new facilities at Drayton Hall coming into focus, we are preparing to exhibit our collections publicly on-site for the very first time. While we are excited to broaden our interpretive program in such a meaningful way, the Drayton Hall collections have significant conservation needs, which must be addressed before opening this important new gallery space.

will be available in the coming months for consideration. In the meantime, watch your mail for our Spring Appeal coming soonâ&#x20AC;&#x201D;you can also visit our websiteâ&#x20AC;&#x2122;s Supporting Special Projects page at any time. www.draytonhall.org/donate/special-projects

To help address this need, the 2016 Drayton Hall Annual Appeal will specifically support the conservation, acquisition, and exhibition of Drayton Hall collections. Gifts of all sizes make a tremendous difference and will help us address conservation needs for objects such as the two shown below. If you would like to help underwrite the conservation of a specific object or type of object, please contact Steve Mount at smount@draytonhall.org or 843-769-2601. A prioritized list

above: One of a matching pair of c. 1735 marble-topped pier tables. Believed to be the earliest pieces of furniture in our collection belonging to John Drayton (1715-1779), they have lost some of their original carvings and the veneers are in need of conservation repair. Gift of Mr. Charles H. Drayton, III, and the late Mrs. Martha Drayton Mood. Photo by Mr. Russell Buskirk.

left: This beautifully painted klismos chair from the first quarter of the nineteenth century almost certainly belonged to Charles Drayton (1743-1820). The surface of the chair is extremely dirty, disguising its beautifully painted surface, and is missing its original seat. Detailed paint analysis, cleaning, and conservation will restore it to its original glory. Gift of Mr. Charles H. Drayton, III. Photo by Mr. Russell Buskirk. 10

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SPEC IA L G I V I N G OPPO RT U N I T I ES Good Stewardship is Forever, But Special Projects Can't Wait by steve mount, director of philanthropy The many loyal Friends of Drayton Hall and generous donors help support our mission to research, preserve, and interpret Drayton Hall and its collections and environs. Still, at any given time there are numerous special projects, typically not part of the budget process, which are essential to conserving the site and sustaining the authenticity of the Drayton Hall experience. Please contact Steve Mount, director of philanthropy, at 843-769-2601 or smount@draytonhall.org, if you would like to share your philanthropic leadership to support one (or more) of the following projects:

Historic Architectural Resources

Archaeology $30,000 – A comprehensive ground-penetrating radar (GRP) survey of the land between the Main House and the banks of the Ashley River, with results helping to prioritize projects and preparing Drayton Hall for future archaeological excavation. $5,000 – New furniture for the Archaeology Laboratory, acommodating Preservation Wednesday volunteers, researchers, interns, and other partners working to conserve and study the Archaeological Collection.

Landscape, Horticulture, & Modern Facilities $1,000 – Traditional Charleston benches are located across the Drayton Hall landscape, offering guests a place to rest and reflect during their time on-site. Four-foot benches may be named in honor of or in memory of a loved one, with a high-quality brass plaque commemorating your wishes in perpetuity. (Eight-foot benches may be named for $2,000.)

$10,000 – Conservation of historic paint in the main house, halting paint loss. $8,000 – Re-pointing the river front exterior stairs, preserving historic bricks and preventing moisture intrusion. $5,000 – Conservation of the wrought iron on the well in front of the house, removing corrosion and adding a protective coating, installation of a secure cover and interpretive signage. $2,500 – Conservation of metal hardware in the main house, removing corrosion and ensuring hinges, knobs, and locks remain in good working order.

Education $3,500 – Purchase of Traveling Education Tool Kits. These resources are essential for customizing educational programs for regional schools. Standards-based materials are designed to support the curriculum to prepare students in advance of their visit and to effectively engage students who may be unable to attend.

Drayton Hall Receives Dominion Foundation Award Drayton Hall has received a $5,000 grant for our wetland conservation project that will preserve historic dikes, water control structures, and embankments, and increase the depth of the historic rice ponds. Dominion (NYSE: D) is one of the nation’s largest producers and transporters of energy. The Dominion Foundation is dedicated to improving the physical, social, and economic well-being of the communities served by Dominion companies. We are grateful to the Dominion Foundation for its recognition and generosity. For more information, visit www.dom.com.

Photo by Tony Sweet For information on additional Special Giving Opportunities visit: www.draytonhall.org/donate/special-projects

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3380 Ashley River Road | Charleston, SC 29414 º

10%

Total Recovered Fiber All Post-Consumer Fiber

The 2016 Drayton Hall Distinguished Speakers Series resumes September 15th with a presentation by Sarah Stroud Clarke, Archaeologist and Curator of Collections at Drayton Hall, entitled “What Lies Beneath: The Archaeology of the pre-Drayton Era.” Archaeological excavations play a crucial role in understanding Drayton Hall’s history and recent excavations are illuminating an even earlier time period pre-dating the purchase of the property by John Drayton on 1738. This presentation will highlight the earlier owners

The Palladian Circle The Next Generation of Preservationists

and discuss how the material culture of the time period is informing what we know about them, their trades, and their lifestyles.

The Palladian Circle wrapped up a busy 2015 with five events, including the sold-out “Tasting

September 15, 2016

October 20, 2016

November 17, 2016

History” Madeira-themed dinner party and

Sarah Stroud Clarke

William M. Kelso, Ph.D.

David S. Shields, Ph.D.

the black-tie Halloween event, “Midnight

Archaeologist & Curator of Collections

Director of Research & Interpretation

Carolina Distinguished Professor

Masquerade” on the grounds at Drayton Hall.

Drayton Hall Preservation Trust

Historic Jamestowne

Moving into 2016, the Palladian Circle is off

University of South Carolina